Fumi Tomita - Yokai: Songs of the Japanese Supernatural

Label: OA2 Records, 2026

Personnel - Carl Clements: tenor and soprano saxophones, flute; Jason Ennis: guitars; Fumi Tomita: bass; Gary Fieldman: drums.

On his fifth release as a leader, New York-born Asian-American bassist and composer Fumi Tomita offers nine compositions centered on the theme of yokai and the Japanese supernatural. With an open, eclectic approach, Tomita shapes his modern jazz with several folkloric Japanese artworks, represented as woodblock prints, in mind.

He and his supple quartet, with saxophonist Carl Clements, guitarist Jason Ennis, and drummer Gary Fieldman, create an atmosphere of wondrous excitement on “Daija (Monster Snake)”. This majestic opener is cemented with a darting groove at the bottom and a progressive-leaning attack that reflects in each soloist’s playing.

Both “Kitsune (The Fox)” and “Kiyomori” unfold in a quintuple meter. The former hides a certain mystery within the harmonic guards put up by Ennis, with Tomita in charge of the main melody and Fieldman brushing the kit in a glowing way, while the latter is buoyed by persuasive soprano sax and dramatic peaks over urgent harmonic punctuation.

Showcasing a more typical jazz sound, “Betobetosan” swings like a feel-good Art Blakey tune, having Clements bringing a blast of vigor to the fore while riding lilting post-bop waves. In the same vein, “Raiju (Thunder Beast)” features Tomita in a rich solo emphasizing triplets before embarking on four-bar exchanges with Fieldman.

Ennis’ pristine acoustic guitar radically changes tone and texture on both “Amabiko (Sea Lad)”, where a soaring flute gives it a rounded smoothness akin to a bossa nova tune, and “Okiku”, a fable of lyrical, waltzing poignancy. The quartet brings the session to a close with “Hyakki Yagyo (Night Parade of 100 Demons)”, a piece in seven with enough flights of fancy to keep us amused.

This unique, conceptual work, plotted with several stylistic changes along the way, still connects the dots of each composition, accentuating empathy and energy. Tomita has the ability to shift musical gears while employing slippery rhythmic undercurrents and narrative pulse. There is more under the hood of Yokai! than it lets on.

Favorite Tracks:
01 - Daija ► 02 - Kitsune ► 03 - Betobetosan ► 06 - Amabiko

Twin Talk - Delights

Label: Shifting Paradigm Records, 2026

Personnel - Dustin Laurenzi: tenor saxophone; Katie Ernst: bass, voice; Andrew Green: drums, percussion.

Twin Talk, the Chicago-based saxophone-bass-drums trio of Dustin Laurenzi, Kate Ernst, and Andrew Green, delves into a charismatic musical exploration that is not too soft and not too aggressive on their fourth album, Delights, the second on the Minneapolis-based, modern jazz-focused label Shifting Paradigm. The album comprises ten stylish compositions, with Laurenzi assuming most of the compositional duties.

Penned by the saxophonist, “Red Cent” offers bursts of jagged tenor and thunderous drums. The harmonic carpet, initially texturized by a pulsating arco bass and immersive drumming, makes a detour into a sort of punk-metal vibe dipped in a nervy backbone. Also by Laurenzi, “Heavy Nice” sinks into abundant confidence, denoting rhythmic acuity and melodic canniness. As a volatile, shape-shifting trickster, the trio navigates staccato-driven avenues and generates a sort of Afro-centric dance propelled by an irregular, festive groove.

Ernst’s “Northwest” slowly burns with passion in a 4/4 progression that is periodically interrupted by a compelling 17-beat cycle passage. As on that piece, the bassist uses her voice on her “Shadow Kid”, a spiritual, mantric shout, and makes her instrument sing on Laurenzi’s “Super Official”, which almost acquires a steady reggae feel.

The energy doesn’t wane on pieces like “Both And”, engraved with a dynamic tenor solo (Laurenzi’s chops sharpened over the rhythm section’s harmonic bed) and alternating tempos with nuance and effortless grace. It ends with a certain playfulness.

While “Teel” takes the form of a beautiful meditation, “Fifths” explores synchronism, counterpoint, and groove with fluency and refinement.

Taking inspiration from various artistic corners, Twin Talk tightly balances dynamics in a way that is deceptively simple. It’s a non-stiff, good-sounding, and full-bodied saxophone trio with broad ideas.

Favorite Tracks:
01 - Red Cent ► 02 - Heavy Nice ► 10 - Shadow Kid

James Brandon Lewis / Red Lily - Calling Antonin

Label: TAO Forms, 2026

Personnel - James Brandon Lewis: tenor saxophone, voice (#6); Kirk Knuffke: cornet; Melanie Dyer: viola; Tomeka Reid: cello; Joshua Abrams: bass; Chad Taylor: drums.

Saxophone phenom James Brandon Lewis returns with his Red Lily project, whose albums are homages to or celebrations of historical figures who have been major inspirations. Red Lily’s third album, Calling Antonin, is a tribute to the often folk-inspired Czech composer Antonín Dvorak and a dedication to trumpeter Roy Campbell Jr., following up on the indispensable Jesup Wagon (2021) and For Mahalia, With Love (2023). On this one, the quintet is augmented to a sextet and some alterations to the original lineup are noticeable: violist Melanie Dyer extends the color palette, while cellist Tomeka Reid and bassist Joshua Abrams replace Christopher Hoffmann and William Parker, respectively. Firm in their chairs are cornetist Kirk Knuffke and drummer Chad Taylor.

Based on a spiritual, “Spirit of the Living God”—a dedication to Lewis’ preacher father—displays a solemn, chamber-like quality in its aperture, with as much reverence as humility. Knuffke’s range reaches the sky; Dyer’s mellow tones enchant, and Lewis’ intonation and dynamic expression are remarkable. Another piece based on a spiritual is “I Want Jesus to Walk With Me”, delivered in freestyle mode with a disarmingly honest fervor.

Dvorak’s influence appears in a few compositions. “Lento” borrows a quote from the composer’s String Quartet No. 12, known as the “American” quartet, showcasing a forward-looking groove and bright ensemble sound over which a moving thematic melody is followed by Lewis’ agile inside/outside moves and intervallic expertise. Knuffke and Dyer join him on the final vamp. “Dilemma of Hearts”, which was inspired by Dvorak’s relationship with his wife’s sister and influenced by James Brown, waltzes under the pulsating hi-hat of Taylor, who is more than up to the task. His crisp snare pairs up with Abrams’ propulsive bass groove on “Going Home”, an elated tune that incorporates Dvorak’s famous theme from “Largo”.

While the improvisation-less “O’ Rebicku” is based on a Czech folk song, “Ode to P.L.D.” thrives on layered vocals before growing conversational with Knuffke and Lewis exchanging ideas. This one is a dedication to poet Paul Laurence Dunbar and includes a fragment of his poem “The Colored Soldiers”.

Though it doesn’t quite reach the heights of the previous two albums, this stylized set still has plenty to offer, with Lewis blending challenging improvisation and layered, accessible sounds in a voice that is entirely his own.

Favorite Tracks:
02 - Lento ► 03 - Dilemma Of The Hearts ► 07 - I Want Jesus to Walk With Me

Stephen Byth - Growth in Stasis

Label: Earshift Music, 2026

Personnel - Stephen Byth: tenor saxophone, clarinet, flute, bass clarinet; Yessaï Karapetian: piano, synth; Simón Willson: upright bass; Angus Mason: drums; Alexandra Ridout: trumpet (#4,6,8,9); Alfredo Colón: alto saxophone (#4,6,8,9); Caleb Smith: trombone (#4,6,8,9); John Ellis: bass clarinet (#4,6,8,9).

Australian multi-reedist and composer Stephen Byth, now based in New York, releases his sophomore album as a leader, Growth in Stasis, in the company of pianist Yessaï Karapetian, bassist Simón Willson, and drummer Angus Mason. Guest horn players allow for an extended frontline on specific pieces, playing a central role by delivering their own statements in addition to coloring the main themes. The album, a set of ten original compositions influenced by modern jazz, classical music, film scoring, and subtle electronics, took shape from a conversation during a workshop with Wayne Shorter, who responded to Byth’s question, “How do you turn poison into medicine through your music?”, with “The poison is the medicine”.

The concise yet powerful “Speed of Thought” sets for a captivating opening where we feel the urgency of the piano trio, later turned sumptuous by Byth’s burnished saxophone arrival. “All Is Not Lost” offers a delicate texture within thoughtful storytelling, without dispensing with interesting accentuations and a fine rhythmic balance. Also evoking airy balladry, “The Light Is Everything” brings to mind Billy Strayhorn’s tunes before entering a Coltrane-and-Tyner-esque modal mode. The bandleader layers the tapestry with flute and clarinets.

Post-bop with a cinematic flair results from “Cutting Ties”, featuring generous impressions by trumpeter Alexandra Ridout and bass clarinetist John Ellis, while the title track puts a warm spotlight on altoist Alfredo Colón before plunging into counterpoint and juxtaposition. “Freedom” is laid down with confidence and taste, embracing a tango-ish cadenza, and “Time Is Now” offers a punchy, hopeful head with notable solos by trombonist Caleb Smith and Byth on tenor.

Declaratively Shorter-esque, “New Eyes” assumes a charmingly relaxed vibe, culminating in a memorable finale, while “Illusions” becomes classically sweetened yet streaked with some notes of poignancy.

Capable of both introspective and outgoing moments, and finding a raison d’être between space and tight interaction, Byth nods to Shorter but keeps his own composed instincts alive.

Favorite Tracks:
04 - Cutting Ties ► 08 - Time Is Now ► 09 - Growth In Stasis

Enrico Rava Fearless Five with Joe Lovano - Corners

Label: ECM Records, 2026

Personnel - Enrico Rava: trumpet; Joe Lovano: tenor saxophone, tarogato; Matteo Paggi: trombone; Francesco Diodati: guitar; Francesco Ponticelli: bass; Evita Pollidoro: drums, vocals.

Illustrious Italian trumpeter and composer Enrico Rava, a longtime force on the European jazz scene, returns with his Fearless Five ensemble, welcoming guest saxophonist Joe Lovano, a powerhouse improviser who had collaborated with the bandleader on the live recording Roma (ECM, 2019). All members of the quintet contribute compositions, trusting the bandleader's candidly investigative approach that opposes rigid perceptions.

Rava's "Certi Angoli Segreti", an exceptionally beautiful tune first recorded in 1998, gracefully materializes with beautiful color shades. Francesco Diodati's guitar gives it a particular touch, later soloing with motivic ability and acerbic distortion; Francesco Ponticelli's dynamic bass builds a solid foundation with drummer Evita Polidoro; Lovano's storytelling comes with delightful details; trombonist Matteo Paggi's expressions are grounded and exploratory; and Rava excels in his improvisational fluctuations—sometimes angular and outside, other times hypnotically flowing and distinctively melodic.

Rava brings two other previously recorded pieces: "Hitchcock at the Beach", whose balladic feeling and original beauty are preserved despite emerging here most as a collaborative voice-trumpet meditation; and the exciting "Bowery Dance", which evokes Rava's New York years with an electrified intro, authoritative bass double-stops, and a crisp backbeat. Lovano and Rava improvise with fire, rejoicing in unison lines in support of their declarations.

Lovano is credited with a couple of distinct compositions. The open-ended "Sun Rava" is full of possibilities, incorporating sharp staccato blows, buoyant swing impulses, and clever pedal points, also featuring improvised dialogues between Rava and Paggi, and then Diodati and Lovano, before the saxophonist rambles freely over the bass-and-drums bedrock. "Tone, Shape, and Colours", a free improvisation based on a riff by Lovano, brings the horn players together in lively conversation.

If the rhythm section kicks into high gear on Lovano's pieces, it eases into the softer lyrical flow of Diodati's "Sin Peso", a burnished ballad suggesting a bolero feel, and Polidoro's "Le Mie Gambe", which, unfolding in 3/4, features the drummer as a vocalist of surprising intensity.

Since the early '70s, Rava—who turned 87 in August—has led a series of highly rewarding albums, and Corners is no exception.

Favorite Tracks:
01 - Certi Angoli Segreti ► 06 - Tune, Shape, and Colours ► 08 - Bowery Dance

Slow Tiger - Slow Tiger

Label: Endectomorph Records, 2026

Personnel - Kenny Warren: trumpet; Adam Schneit: alto saxophone, clarinet; JP Schlegelmilch: organ; Andrew Dow: electric bass; Nathan Ellman-Bell: drums.

Slow Tiger—the jazz quintet of trumpeter Kenny Warren, saxophonist and clarinetist Adam Schneit, organist JP Schlegelmilch, electric bassist Andrew Dow, and drummer Nathan Ellman-Bell—releases its debut album, pointing in many directions with an impeccable flow and assured tones. All its members, with the exception of Ellman-Bell, contribute compositions, filtering influences through the lens of this cohesive collective ensemble. Melodies stick on the ear as the band, whose prior successful collaborations led to the album, leans toward a pop/rock style that easily accommodates jazz-leaning improvisation.

Warren's "Powerpuff Backpack" is a tribute to late trumpeter Ron Miles, revealing traces of folk and funk woven into the framework of pop and psychedelic rock infusions. Occasionally, bands like Inspiral Carpets and Jethro Tull come to mind, and Schneit's clarinet explores with effortless inside/outside agility, followed by Warren, who also brings in "Eleven Six”. Its title comes from the fact that Ellman-Bell plays a cymbal pulsation in eleven while Dow shapes an upbeat six-beat bass figure that provides solid ground for the horn players to interact. They exchange ideas with grip and avant-garde stance, while Schlegelmilch makes the piece soar via hypnotic organ waves and ostinato-leaning textures that add dimension to the music.

Schneit, who was born in Portland, Maine, named "Wharf Street" after the street where he grew up. This is a pop tune permeated with a strong 60's vibe, with the composer and Warren intersecting phrases with insouciant power, precision, but also freedom. They also bring this strategy to Schlegelmilch's time-shifting "Maritime Studies”, which is buttressed by a sluggish beat and cautiously measured unisons. The organist's response to the pandemic's forced pause comes with "Mending the Nets”, a gentle waltzing ballad moved by sizzling brushes, melancholic melody, and church-like organ sustains.

The quintet aligns in relaxed sounds on the title track, "Slow Tiger", a soulful, melodically seductive piece romanticized by warm R&B colors. It contrasts with Dow's "Funhouse", whose groove in nine defines the tempo. With the organ illuminating the scenario with crested ripples of sound, the piece morphs into openly avant-garde territory as the horns criss-cross atop the rhythmic net laced by bass and drums. 

Slow Tiger shows potential, and its debut is a tantalizing promise of more albums to come.

Favorite Tracks:
02 - Maritime Studies ► 05 - Eleven in Six ► 07 - Funhouse ► 09 - Slow Tiger

Cameron Brown and Dannie's Calypso - Remembrance

Label: Sunnyside Records, 2026

Personnel - Jason Rigby: tenor and soprano saxophones; Lisa Parrott: alto, soprano, and baritone saxophones; Russ Johnson: trumpet; Cameron Brown: bass; Tony Jefferson: drums.

Bassist and composer Cameron Brown has always felt comfortable in both traditional and avant-garde settings, and was an important element in the rhythm sections behind Archie Shepp, Don Pullen, George Adams, George Russell, Dewey Redman, and Don Cherry. Here, he leads a chordless quintet, paying tribute to Cherry as well as his mentor Dannie Richmond, best known for his extensive work with the one-and-only bassist, composer, and bandleader Charles Mingus. This ensemble started as a quartet featuring saxophonist Jason Rigby, trumpeter Russ Johnson, and drummer Tony Jefferson. Saxophonist Lisa Parrott joins them here for a dense, unfiltered session recorded live in concert in 2011. Raw and dense, it often sounds like a jam.

The uptempo “Sheila, It’s You!”—written for the late jazz vocalist Sheila Jordan—has the three-horn frontline blowing with hard-bop intensity over the hard-charging swing provided by the rhythm section. They alternate solos before intersecting their searing lines with purpose. Conversely, “Lullaby For George, Don, and Donnie” is a 3/4 ballad gently propelled by brushes.

“Baby Suite” is a through-composed response to Cherry’s “cocktail suite” concept. Brown’s three-minute bass monologue—featuring double-stops and thoughtful melodic development—right after the contrapuntal theme leads into faster bass circularity, with Jefferson free to embellish while the horns float above. A spontaneous avant-garde freedom reminiscent of Mingus’ excursions can be felt in the coda that precedes the theme. “Cocktail Suite”, which clocks in at 21 minutes and includes Cherry’s “Remembrance” and “OC/DC”, Jobim’s “Portrait in Black and White”, and Redman’s “Mushi Mushi”, features some awkward passages and elongated solos with the horns left to roam freely. 

Incessant walking lines populate the recording, creating an inescapable sense of anticipation. Brown’s “Rylie’s Bounce” blooms with a bass solo at the outset and explosive drumming by Jefferson, who throws in some barbed percussive sounds on Richmond’s “Soft Seas”, an amusing calypso dance served with humor and panache. Parrott causes some frisson on baritone, while Rigby explores the opposite end of the spectrum on soprano. This piece is put together much more effectively, with a keen sense of time and a divergence from conventional swing.

With the interplay controlled at all times and the recording sounding like a classic (I don’t go crazy for the sound here), Remembrance sometimes rings a bit meandering, yet never disjointed.

Favorite Tracks:
02 - Baby Suite ► 03 - Soft Seas ► 07 - Cocktail Suite

Michael Blake - Halloween Tales

Label: P&M Records, 2026

Personnel - Michael Blake: tenor and soprano saxophone; Gary Versace: piano; Ben Allison: bass; Michael Sarin: drums.

Canadian-born, New York-based saxophonist and composer Michael Blake gathers a quartet of longtime collaborators for a slightly unsettling jazz session centered on Halloween, a holiday of imagination and transformation built around costumes, community, and the unexpected. Joining Blake here are pianist Gary Versace, bassist Ben Allison, and drummer Michael Sarin—all of whom have played and recorded with the saxophonist in various musical contexts. All nine compositions on the album are covers associated with Halloween, with the exception of the last track, Blake's "The Creep", a shape-shifter showing many faces in minor mode with a bluesy feel.

The opener, "Halloween", slides in with mystery-induced suspense, leading to an atmospheric crescendo dreamily texturized by jagged piano chords in the high register. It keeps us engaged and alert as it moves forward in a fluid 5/4 time signature, strengthened by Blake's command of phrase and tone—he offers a haunting improvisation delivered with pure instinct and multiphonic impact.

"Stalking Monster" and "Anatomy of a Murder" are Duke Ellington compositions, the former from Night Creature and the latter from Otto Preminger's film of the same name. "Stalking Monster" features tonally contrasting piano playing over hi-hat pulsation, creating eerie undertones before morphing into a 4/4 swing in the best that jazz tradition has to offer. An empowering feeling comes from the soloists: Blake is soulfully articulate while Versace introduces rich motivic ideas. This continuous fluidity, without straining to make a point, carries over to "Anatomy of a Murder", a blues where bass and piano start in tandem, filling the lower register with gorgeous groove.

The gears shift considerably on "The Great Pumpkin Waltz"—Vince Guaraldi's tune from the 1966 Halloween television special It's The Great Pumpkin, Charlie Brown—here delivered with harmonic sophistication and passionate lyricism. On soprano saxophone, Blake exudes clarity of technique and natural phrasing, switching to tenor on the following tune, "Transylvanian Lullaby", the main haunting theme from Mel Brooks's 1974 comedy Young Frankenstein. Allison and Sarin build tension at the outset, and the piece becomes gently brushed after brief, well-devised staccato moves. The rhythm section compellingly swings in support of Blake's nimble solo. There's also a slow, rubato rendition of "Witchcraft", Cy Coleman's tune popularized by Frank Sinatra and the Bill Evans Trio, where brooding melodicism comes to the fore.

The chemistry between Blake and his rhythm team is undeniable throughout, even when the energy dips a bit after the first couple of tracks.

Favorite Tracks:
01 - Halloween ► 02 - Stalking Monster ► 04 - Transylvanian Lullaby

Zeju Zheng - A Mind in Motion

Label: Shift Paradigm Records, 2026

Personnel - Zeju Zheng: guitar; Arnie Sainz: piano; Drew Gress: bass; Chidiebere Emmanuel: drums.

Emerging guitarist Zeju Zheng is based in New York, the city he relocated to in order to pursue a Master's Degree in Jazz Performance at New York University. Zheng, who studied under Peter Bernstein and Adam Rogers, releases his debut album, A Mind in Motion, which features six original compositions exploring themes of transition, memory, hope, and discovery. The pieces, written and recorded during Zheng's early years in New York, are performed by a quartet featuring pianist Arnie Sainz, seasoned bassist Drew Gress, and Nigerian-born drummer Chidiebere Emmanuel.

"53" is pure post-bop sophistication in 5/4, spreading fragments of Miles and Shorter's ESP years. Invigorating tonal and rhythmic shifts, a straightforward swinging drive, and expressively patterned and articulated solos from Zheng and Sainz make this an exciting opener. “Simple", whose 6/8 feel creates an exciting spark, emerged from Zheng's studies with eclectic guitarist Brad Shepik. His influence transpires in the guitarist's busy yet precise solo. Before that, Sainz excels in phrasing and mood, likely spurred by Gress's decisive bass figure at the bottom. Guitar and piano unisons revisit the theme, providing a tidy resolution.

Zheng showcases a balladic side on tunes like "Drain", whose sense of calmness inspires a notable solo from Gress, and "At The Corner", where the band plunges into a meditative melodic languor offered with a rich, rounded quality. The mellow tone speaks directly to the album's themes, and in both pieces, Gress and Emmanuel fulfill their foundational roles with trust.

Far from casting us in a dimmer light are the two final tracks: the nicely tempered "Little Song", and the harmonically rich "Waiting For You To Be Home", which frees the emotions while finding comfort in hope and light.

Rooted in tradition yet incorporating charismatic contemporary elements, the pieces in A Mind in Motion are rendered with lithe and spry interplay. Zheng is confirmed as a name to watch in the future.

Favorite Tracks:
01 - “53" ► 03 - Simple ► 06 - Waiting For You To Be Home

Lucian Ban & Elevation - Rush

Label: Sunnyside Records, 2026

Personnel - Lucian Ban: piano; Abraham Burton: tenor saxophone; John Hébert: bass; Eric McPherson: drums; Gavril Tarmure: vocals (#9).

Romanian-born pianist and composer Lucian Ban returns with Rush, a refreshingly vital album from his acclaimed group Elevation, featuring saxophonist Abraham Burton, bassist John Hébert, and drummer Eric McPherson.

The inspirations come from many sides. The opener, "Dark Blue”, is a dedication to pianist Abdullah Ibrahim — velvety, comforting contemporary jazz that revels in modal sophistication within an aesthetic that seems to intersect Mingus's ballads and Motian's soft lyric abstraction. Burton speaks wonders here, and I'm especially fond of the way Ban solos, using splendorous harmonic manifestations to accompany himself. "Serenade For Andrew" is a tribute to another great pianist, the inimitable Andrew Hill. Delivered in 3/4, this is solid post-bop with depth, a strong emotional center, and reverence for the man to whom this gripping composition is dedicated.

"Christine's Hope" is an Americana-tinged ballad, but the mood lifts with “Rush", whose traditionally lilting locomotion, cubist accentuations, imposing pedal points, and rhythmic complexity conjure an amalgamation of Thelonious Monk, Herbie Nichols, Charlie Parker, and Sam Rivers. "Congestion Tax", improvised spontaneously by the quartet, gradually lends the music its combustive edge, while the delicate "Chakra", written for Billy Strayhorn, seems to find some solace in Yusef Lateef's Eastern moods.

The music is permeated with interplay, sometimes leading to mesmerizing results, as in “Elevation", an achingly beautiful and leisurely illuminated ballad composed for Larry Willis, where the quartet showcases razor-sharp musicianship, sophistication, and passion for sound. Hébert's intimate lyricism is featured here, and the group's spotless dynamics leave us in awe.

The journey wraps up with "Golden Oriole”, a traditional folk song featuring Romanian singer Gavril Tarmure, whose genuine feeling is immediately apparent. He had collaborated with Ban on three folk-jazz crossover pieces included on Songs From Afar (Sunnyside, 2016).

These tautly arranged compositions are given fascinating colors, shades, and directions under the captivating performance of Ban's Elevation.

Favorite Tracks:
01 - Dark Blue ► 04 - Rush ► 05 - Elevation ► 07 - Chakra

Linda May Han Oh / Melissa Aldana - Beneath Lifted Skies

Label: Biophilia Records, 2026

Personnel - Linda May Han Oh: double bass; Melissa Aldana: tenor saxophone.

Bassist Linda May Han Oh and saxophonist Melissa Aldana are two respected bandleaders and composers with different styles and approaches but common journeys in life. Oh was born in Malaysia to parents of Chinese heritage, was raised in Australia, and moved to New York for a brilliant career, having played with Pat Metheny, Vijay Iyer, Joe Lovano, and Dave Douglas, among many others. Aldana is a native of Santiago, Chile, and has lived in New York since 2009, after graduating from Berklee College of Music. For this session, the duo agreed to play standards, showcasing reverence for jazz tradition and influences while also allowing new possibilities to emerge from the arrangements. Yet Beneath Lifted Skies also includes three duo improvisations and three solo bass tracks.

Charlie Parker’s “Anthropology” comes out of the gate with a vibrantly swinging mood, swift unisons, and exciting exchanges infused with a richness of ideas. Yet it doesn’t beat the fantastic rendition of Bud Powell’s “Hallucinations”, where the duo is at its best. Impressive synchronization, great melody, and a grooving, energizing vibe are part of a breathtaking interplay that demonstrates Oh’s immaculate technique and Aldana’s fluid language.

Ballads where melody reigns, such as Charles Mingus’ “Duke Ellington’s Sound of Love” and Sammy Fain’s “I’ll Be Seeing You”, make a great pair. Aldana’s quick-witted, arpeggiated sequences à la Charles Lloyd put a smokiness in the air. In turn, pieces by jazz giants Wayne Shorter (“Dance Cadaverous”) and John Coltrane (“26-2”) didn’t impress me as much. One that really gets under the skin is Gigi Gryce’s “Social Call”, a graceful, easy-rolling tune expressed with joyful hookiness.

Of the three improvised pieces, “Infinite” is the one that caught my ear instantly, relying on droning pedals and searching melodies to take us to a progressive yet atmospheric place. “Resolve”, which ends with a pedaling bass figure, also makes for a compelling abstract sonic painting.

Oh absolutely excels on her solo reframing of Herbie Hancock’s “The Sorcerer”, where edginess and roundness go together, creating an almost subliminal pulse. The bassist also tackles Billie Holiday’s “God Bless the Child”, delivered as a protest against child abuse, and introduces a new composition, “Winter”, where she employs expert pulses and slides to add novelty.

Demonstrating a quick-witted rapport, Oh and Aldana are two kindred spirits in conversation. They’ve already found their own voices in jazz, but together, they manage to offer a very enjoyable album with varied rhythm, groove, and breath. While old standards can sometimes feel stale, creative reinvention transforms them into a thrilling experience. Beneath Lifted Skies is an excellent case in point.

Favorite Tracks:
02 - Hallucinations ► 03 - Improvisation: Infinite ► 06 - The Sorcerer ► 10 - Social Call

Charles Lloyd - Sangam and Friends

Label: Blue Note Records, 2026

Personnel - Charles Lloyd: tenor saxophone, flute; Zakir Hussain: tabla, percussion; Eric Harland: drums; Vijay Prakash: vocals; Rakesh Chaurasia: bansuri; Sabir Khan: sarangi; Niladri Kumar: electric sitar;  Ranjit Barot: keyboards.

Everyone knows that Charles Lloyd’s music is a sea of authenticity that lifts the spirit and awakens the senses. Most of the tracks on Sangam and Friends, his new album serving as a homage to the late tabla player Zakir Hussain, were recorded live in Mumbai in 2009 for an album that was never released. Drummer Eric Harland is the third side of the triangle that composes Sangam, yet this date is enriched by a rotating lineup of standout Indian collaborators that includes vocalist Vijay Prakash, bansuri player Rakesh Chaurasia, sarangi player Sabir Khan, sitar player Niladri Kumar, and keyboardist Ranjit Barot.

As expected, the new album traffics in an outgoing blend of world fusion, avant-jazz, and post-bop that attains emotional peaks on “Bharati’s Dance, Tempo Divine” and “Sam on the Ganges”, a sprightly reimagining of Lloyd’s memorable tune “Sombrero Sam”. The former piece showcases Lloyd in top form, blowing impulsively and fabulously over Hussain’s entrancing tabla patterns and Harland’s smart drumming. This Indo-jazz breeze is also felt on the latter piece, where Barot’s keyboards reinforce the texture, paving the way efficiently for bansuri and tenor discourses. Carrying soulful, transcendental energy, both the sarangi and electric sitar contribute rich flavors to a delicately spicy whole.

The beautiful vocal work of Prakash is featured on the meditative introductory “Clear the Dust” and “The Blessing”, where Lloyd evokes “Tone Poem” in his mystic chants. “Jai Ganga”, a traditional piece drawn from the group’s archives, is a vivid, celebratory marching dedication to the sacred Ganges river, while “Tagore”, featuring Lloyd on flute, is a premium Carnatic output with a lingering melody and mesmerizing rhythm, recorded live in Santa Barbara, CA, in 2014. In turn, “Eternal Dreaming”, using a sustained chord as a drone, reflects a meditative temperament.

With the rhythm team put to excellent use throughout the recording, Sangam and Friends shares multicultural stories, keeping Lloyd’s distinct style front and center.

Favorite Tracks:
02 - The Blessing ► 05 - Bharati’s Dance, Tempo Divine ► 07 - Sam on the Ganges

Anggie Obin - Luz

Label: UnderPool, 2026

Personnel - Anggie Obin: flute; Bill McHenry: tenor saxophone; Miguel “Wiwi” Garcia: piano; Masa Kamaguchi: double bass; Estefania Chamorro: drums.

Rising Panamanian jazz flutist and composer Anggie Obin, who attended Berklee College of Music in Boston and is based in Barcelona, gathers a first-class quintet—American saxophonist Bill McHenry, Cuban pianist Miguel “Wiwi” Garcia, Japanese bassist Masa Kamaguchi, and Spanish drummer Estefania Chamorro—for a wonderful debut album that honors her musical mentors and her late great-grandmother. Luz was titled after the latter, an important pillar in her life. 

“For Mr. G” begins the album in warm modal complicity, with saxophone and flute beautifully interlocking through contrasting timbres. The piece, dedicated to saxophonist Carlos Garnett—with whom Obin first recorded professionally—features her wandering freely, choosing exquisite, breathy notes with spotless intonation that makes us search as much as she does. There’s also catchy melodic input from McHenry, who captures Coltranean vibes in his solo, while Kamaguchi showcases the foundational sophistication for which he is known.

“Flash of the Spirit”, a grateful nod to versatile bassist Santi Debriano, evolves with playful hard-bop flair, bluesy chops, and hints of Monk’s music. The quintet swings and grooves, revolving around freshly introduced ideas and a modern jargon that still drinks from the wells of tradition. Here, Obin is highly conversational in her statement, sounding as radiant as she does on “Luz”, where a delicate rubato introduction takes an emotional turn into a charming 3/4 drive. Obin’s expression is remarkable, Garcia’s measured piano playing comes wrapped in modal alchemy, while McHenry navigates abstract alleys of his own imagining.

“La Eucaristia” exudes solemnity and dark contours through its leaping angular melodies, featuring an exchange of rapid motifs between Obin and McHenry. If the that piece was inspired by experimental multi-instrumentalist Anthony Braxton’s work, then the mercurial “Ballot or the Bullet” is a blues inspired by human rights activist Malcolm X’s speech. Obin kills it with soulful tones and brilliant technique.

Recorded live at Estival de Jazz d’Igualada in Spain, Luz emphasizes the elasticity and potential of each composition, leaving a lasting impact. Obin’s highly attuned quintet cuts through modal post-bop and Panamanian roots with superb fluidity, providing an immersive listening experience.

Favorite Tracks:
01 - For Mr. G ► 02 - Flash of the Spirit ► 04 - Luz

Bryan Murray - Wolf

Label: Shifting Paradigm Records, 2026

Personnel - Bryan Murray: tenor saxophone; Adam Linz: bass; Dan Monaghan: drums.

Boasting a catchy sound and enjoying genuine freedom within the structure, saxophonist and composer Bryan Murray leads a supple chord-less jazz trio featuring bassist Adam Linz and longtime associate drummer Dan Monaghan. With friendship and collaboration at the center of Wolf, Murray—who also leads the peculiar avant-garde-meets-country band Bryan and the Haggards, is a member of Moppa Elliott’s Unspeakable Garbage, and has performed with David Byrne and St. Vincent outside the jazz sphere—explores his own music, radiating energy and abandon in a way that keeps listeners fully engaged.

“Bombs” kicks off with hooky, motivic saxophone firepower over agile drums and sturdy bass, channeling David S. Ware and the reed language of Threadgill’s Air over the tight-knit rhythmic web spun by Linz and Monaghan. Post-bop and avant-garde walk hand in hand here, while “Curtain”, delivered with a sensitive balladic touch, brings forth Monaghan’s mallet work and shimmering cymbal washes. There’s pensive lyricism cutting through the open spaces, and Murray’s cautious melody is closely shadowed by Linz.

Evoking childhood memories in West Virginia, “Dirtslide” displays an irreverent, hard-bop-inflected elegance over a full-throttle swing that is briefly suspended to accommodate the conversational interaction between Linz and Monaghan. Tactical bass mobility and crisp drumming dominate until Murray’s return, his playing abounding in ideas, supported by a firmly grounded and energetic rhythm section. The folksy theme of this piece contrasts with the pure modal jazz of “Buell”, a passionate prayer that recalls the spiritual hymns of John Coltrane and Billy Harper.

“Cloud Shapes” is anchored by Linz’s impeccable bass guidance, while Monaghan’s cymbal work and mallets transport us to distant worlds. Murray’s narrative gift is unmistakable here. The title track, “Wolf”, achieves an air of mystery through a simple yet relentless bass ostinato. Deliberately measured, it unfolds in a lugubrious 3/4, while the closer, “Fill Taker”, embraces avant-garde elasticity, with Murray’s authoritative presence enhanced by well-delineated lines and motifs over a vibrant rhythmic foundation.

This is stirring, serious sax-bass-drums work, resulting in a contemporary jazz album well worth digging into.

Favorite Tracks:
01 - Bombs ► 03 - Dirtslide ► 05 - Buell ► 08 - Fill Taker

Jeff Parker ETA IVtet - Happy Today

Label: International Anthem / Nonesuch Records, 2026

Personnel - Jeff Parker: guitar, electronics; Josh Johnson: alto saxophone, electronics; Anna Butterss: bass; Jay Bellerose: drums, percussion.

Chicago-based guitarist and bandleader Jeff Parker, a member of the post-rock band Tortoise and the Chicago Underground Trio as well as a sought-after sideman—having worked with Rob Mazurek, Joshua Abrams, Makaya McCraven, and, more recently, Flea—returns with his ETA IVtet project, featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose. Recorded live at the Lodge Room in Los Angeles, Happy Today features two long-form improvised tracks where the group demonstrates unfailing communication while organically exploring well-structured, static spaces.

“Like Swimwear” starts off with a 16-beat-cycle guitar riff and patiently expands through understated bass maneuvers, micro-detailed saxophone fluctuations that evolve into spiritual Coltrane-like staccatos, and delicate, never obtrusive drum work. Parker designs chromatic figures up and down the fretboard, while Bellerose shifts the rhythmic feel, drawing positive reactions from the audience. Johnson responds with circular movements on his effects-drenched saxophone. A few minutes later, Butterss sets a new groove, and Parker responds with a long-toned, flickering chord that supports the ambient if grooving atmosphere. By the end, the band injects a bluesy feel, gently fusing soul-jazz sensitivity with affable psychedelia.

Immersed in these grooving atmospheres, the group eschews outbursts in favor of circularity and speech-inflected long tones, keeping their ears wide open and making decisions in the moment. This is especially noticeable on the title track, “Happy Today”, where they seep into the listener’s consciousness with a sustained chord, sparse bass commentary, and soaring saxophone lines before adding tumbling toms, rattling percussion, and shimmering cymbal washes. A six-beat groove is topped by a guitar riff, with Bellerose opting for a backbeat-driven pulse over which Parker’s snake-charmer-like phrases unfold until they exhaust their possibilities. It all ends with a fine pulse in five outlined by Johnson.

Happy Today’s low-key charm is rewarding for those willing to cool down in its waters.

Favorite Track:
02 - Happy Today

Christopher Dammann - Dead Words

Label: Shifting Paradigm Records, 2026

Personnel - Jon Irabagon: stritch; James Davis: trumpet; Jim Baker: piano, ARP 2600 synth; Christopher Dammann: double bass; Mike Reed: drums.

Chicago-based bassist and composer Christopher Dammann has a very limited discography as a leader, but that shouldn’t discourage you from checking out his latest work, Dead Words. On this album, five spiritual contrafacts are reimagined by Dammann’s cohesive and highly synergistic quintet, featuring the incomparable talents of saxophonist Jon Irabagon, trumpeter James Davis, keyboardist Jim Baker, and drummer Mike Reed.

With stately grandeur, “Montrose B” is an assertive opener, a pure post-bop piece that dazzles and invigorates. Following a magnetic bass introduction, the attractive theme is brought to the fore by the horn players, who exchange ideas freely under the spell of the swinging vibrancy coursing beneath them. Characteristically outgoing on stritch, Irabagon takes the first solo with the force of nature—he has a special edge to his playing—followed by Baker, whose delicate lyricism unfolds through dreamy sonorities, and then Davis, who, eschewing unnecessary flourishes, relishes the fleeting Latin-inflected passages woven into the swing.

Interesting enough to keep you fully engaged, the Sunny Murray-inspired “Untitled” is a hymn to avant-garde expressionism, shaped by the spacious, woozy, electronics-infused glitches and feedback of Baker’s semi-modular ARP synthesizer. Dammann’s constantly probing bass supports cyclical saxophone bursts interspersed with terse trumpet commentary and incisive synth textures. “Two Themes for Improvisation” also features Baker’s asynchronous synth transmissions and Irabagon’s spontaneous saxophone interjections, yet it is Dammann who takes the lead with his resonant arco work. Reed’s thoughtful snare and tom patterns stand out as the group navigates an abstract limbo, moving between climactic peaks and serene atmospheres with equal assurance.

If the two previously described pieces showcase the group’s indifference to orthodoxy in favor of freer experimentation, “White Gladis”, with Dammann’s haunting bow sweeping across the bass strings, returns the music to earth, finding its footing through counterpoint. Its lilting, blues-inflected modal mood bears resemblance to works by Sam Rivers, Charles Tolliver, and Stanley Cowell. Yet the tune was inspired by bassist Paul Chambers. Irabagon’s timbral flamboyance finds the perfect foil in Davis’ more restrained yet perfectly articulated phrasing. Both are also prominently featured on the closing track, “This Is an Unraveling”, where Dammann beautifully states the melody after introducing it with a catchy bass figure.

Dead Words offers propulsively swinging, muscular music delivered with an ideal balance of discipline and freedom, feeling simultaneously nostalgic and forward-looking. The equilibrium achieved is masterful, leaving us hoping Dammann returns soon with more music of this caliber.

Favorite Tracks: 
01 - Montrose B ► 03 - White Gladis ► This Is An Unraveling

Willber Sunlight - Willber Sunlight

Label: Endectomorph Records, 2026

Personnel - Kevin Sun: tenor saxophone; Max Light: guitar; Simón Willson: bass; Aaron Seeber: drums.

Willber Sunlight is the recently formed quartet of saxophonist Kevin Sun, guitarist Max Light, bassist Simón Willson, and drummer Aaron Seeber. The album, which celebrates jazz tradition and the friendship between these New York-based artists, features one original composition by each member alongside four thoughtfully selected covers, showing that the band can illuminate the music of masters such as Thelonious Monk, Robert Schumann, and Horace Silver. 

Sun’s swinging romp “Belong, Sonny”, whose title is an anagram of Benny Golson’s name, is a contrafact of his classic “Stablemates”. Rhythmically defiant, the piece is anything but static, featuring impish soloing by Light and Sun. The latter’s improvisation unfolds with pitch-perfect articulation, inventive motivic development, and a soulful expressive quality.

Willson’s “Easy Listening” develops with cool assurance, bringing together elements of pop, rock, and jazz. Light and Sun alternate solos with a solid mutual understanding, engaging in a communicative musical dialogue. Light’s “Bagel” embraces a relaxed pace and unaffected demeanor while revealing subtle details that showcase not only his compositional adroitness but also the quartet’s cohesion.

The band puts a fresh face on “Tea For Two”, played with confident uptempo drive, and Schumann’s “Des Abends”, whose gentle cross-rhythms and jazz-inflected arrangement make it feel like an entirely new creation. Monk’s “Locomotive” is an earworm that favors propulsion over abrasion, swinging lusciously from beginning to end.

Following Horace Silver’s celebrated ballad “Peace”, anchored by Seeber’s thoughtfully sizzling brushwork and Willson’s illustrative bass foundation, the album concludes with Seeber’s bop-infused “Teranga Bounce”, a joyful tribute to Charlie Parker that sounds as though it could have come straight from the bebop era.

Willber Sunlight invites enjoyment without necessarily lingering in the memory. It is an engaging listen—an unambiguous ode to jazz tradition and its enduring vitality.

Favorite Tracks:
01 - Belong, Sonny ► 04 - Bagel ► 05 - Des Abends

Steve Swallow - Winter Songs

Label: ECM Records, 2026

Personnel - Chris Cheek: tenor saxophone; Mike Rodriguez: trumpet; Gil Goldstein: piano; Steve Cardenas: guitar; Steve Swallow: electric bass; Adam Nussbaum: drums.

At 85, Steve Swallow sounds as inspired as ever, maintaining the stylistic poise on electric bass, post-bop refinement, and functional compositional forms that have defined both his solo career and his work with his late partner in music and life, Carla Bley, as well as Jimmy Giuffre, Gary Burton, and George Russell. More meditative than exploratory, Winter Songs is his first album in a decade, featuring nine untitled original compositions. For the occasion, he assembled a group of simpatico musicians—a frontline of savvy melodicists comprising tenor saxophonist Chris Cheek and trumpeter Mike Rodriguez, alongside a solid rhythm section with pianist Gil Goldstein, guitarist Steve Cardenas, and drummer Adam Nussbaum.

What the sextet plays is consistently lucid and alive, beginning with “One”, a smooth, elegant post-bop piece elevated by Goldstein’s magnetic pianism. Rodriguez demonstrates his trademark fluency and articulation, while Swallow and Nussbaum engage in empathic interplay beneath the surface. The piece culminates in a thematic unison before leading naturally into “Two”, a 3/4 delight in which Swallow’s electric bass gently propels the flow over Nussbaum’s supple brushwork. The drummer is deeply musical, softly caressing the kit to create an effortless sense of cohesion.

You can feel Swallow reconnecting with elements of his musical past, and “Three”, a 4/4 ballad harmonically enriched by Steve Cardenas’ guitar, together with “Four”, whose radiantly blissful, bohemian character carries an elegant swing, reminds us that jazz—in its purest forms—is far from dead. At the outset, Cheek unfolds a glossy improvisation before joining Rodriguez in persuasive unison figures that pave the way for Goldstein’s charismatic solo.

Cerebrally constructed, “Six” is a swinging vehicle for the horn players to stretch out, “Eight” is a slow-burning meditation with Cheek taking the lead, and “Nine” closes the album in a gently mournful mood. Winter Songs may not be particularly innovative, but it is infused with lyrical sophistication and harmonic finesse. Swallow’s instinctive, unforced playing continues to keep the finest traditions of jazz alive while subtly renewing them.

Favorite Tracks:
01 - One ► 04 - Four ► 06 - Six

Ralph Alessi - A Sun That Never Sets

Label: ECM Records, 2026

Personnel - Ralph Alessi: trumpet; Joseph Alessi: trombone; Matt Mitchell: piano; John Hèbert; bass; Ches Smith: drums. 

The last time American trumpeter and composer Ralph Alessi recorded with a quintet as a leader was 15 years ago with the sophomore album by his This Against That project. He returns with a completely different lineup, collaborating for the first time on record with his classically inclined trombonist brother, Joseph Alessi—an understated impressionist—and the supple rhythm section of pianist Matt Mitchell, bassist John Hébert, and drummer/vibraphonist Ches Smith, whose versatility works as a trump card in Alessi’s contemporary instrumental aesthetics.

Comprising seven originals, A Sun That Never Sets opens with the title track, a highly rhythmic clarion call marked by precise staccato attacks in a restless atmosphere suspended between a ceremonial procession and a hallucinogenic trip. The piece gradually attains dreamy proportions, its porous soundscape stirred by Hébert’s animated bass plucks over Smith’s shimmering vibraphone tapestry. Hébert and Smith, entwined in a finely woven rhythmic mesh, welcome Mitchell’s exploratory excursions before the theme is reintroduced with Ralph back in the foreground. The trumpeter solos over a vamping chordal sequence, following a notable piano riff in five embellished with thoughtful drum fills.

Ralph has mentioned that writing for trombone was a challenge, yet the arrangements emerge compelling and full of character. On “Relaxed Misery”, the blended sonorities of plunger-muted trumpet and trombone shimmer with remarkable freedom before converging into unison lines. Before that, a six-beat piano motif takes shape, supporting conversational bass interaction and soft, tickling cymbal work.

Ralph and Joseph display outstanding technical control on pieces such as “Of Trees (Variations on a Theme by TB)”, a spasmodic marching exercise delivered with swiftness, purpose, and contrapuntal finesse, and “Duck Face”, where Stravinsky’s classical influence merges with searing, agitated lines reminiscent of Ornette Coleman.

The shifting “Transitional Imagery” features trumpet and piano in perfect consonance while delivering angular melodies, whereas the strangely comforting “Sweet Spot” explores ballad territory with Smith at the vibraphone. “Nothing Is Dead” is another highlight, unfolding as an intimate, free-flowing rubato ballad wrapped in a melancholic aura. Its spaciousness is simultaneously poignant and warm, reinforced by Ralph’s refined lyricism and compelling storytelling.

The quintet’s chemistry feels immediate and organic, resulting in music that is both intricate and refined. Another strong offering by Alessi, A Sun That Never Sets explores fascinating tonal possibilities while injecting fresh impulses into the currents of contemporary jazz.

Favorite Tracks:
01 - A Sun That Never Sets ► 02 - Nothing is Dead ► 03 - Relaxed Misery ► 09 - Of Trees

James Brandon Lewis Quartet - Omni

Label: Intakt Records, 2026

Personnel - James Brandon Lewis: tenor saxophone; Aruán Ortiz: piano; Brad Jones: bass; Chad Taylor: drums. 

Raw expression, empathic interaction, and spiritual ascension are what you’ll find on Omni, the sixth album by sensational saxophonist and composer James Brandon Lewis with his working quartet. Described as “a sermon without words” by Kevin Le Gendre in the liner notes, the album picks up where Transfiguration (2024) left off, featuring vibrant themes and soulful improvised discourses that lift us heavenward with the force of unshakable faith and a profound search for self.

Lewis opens the album in solo mode with “Omnipotent”, followed by the feverish “The Sermon”, a surge of energy where the impressive rhythm section—Brad Jones anchoring everything with bass pedal points, Chad Taylor rock-solid on the kit, and Cuban pianist Aruán Ortiz applying understated harmonic coloration—creates the perfect foundation for Lewis’ impassioned language, often channeling the spiritual intensity of Coltrane’s A Love Supreme.

“Fire In My Bones” unfolds within an avant-garde framework, feeling playful, contrapuntal, percussive, and urgent, while “Testify” continues the album’s spiritual and emotional thread—recalling Archie Shepp—with a dash of American roots music in the mix. It’s a powerful modal piece whose incisive foundation leads to a bluesy cadence held together by Jones’ magnificent bass sound. Taylor’s martial snare work gives further impetus to the thoughtful improvisations of Lewis and Ortiz.

“Call to Worship” may be restrained in pace, but never in candor or puissance. Bowed bass, agile mallet work on toms and cymbals, and modal grandeur shape this spiritual awakening, where the musicians’ individual qualities perfectly serve the atmosphere with devotion and gravitas. “Spirit of the Living God” settles into a free-spirited dance driven by groove and polyrhythmic flow, contrasting with the beautiful, expressive saxophone-bass dialogue of “Omniscient”.

Riding the natural interplay between structure and improvisation, the James Brandon Lewis Quartet excels once again, proving itself an indomitable force in today’s spiritual contemporary jazz. The hand of the Creator seems to dwell within this music, and Lewis remains a remarkable vessel for its transmission.

Favorite Tracks:
02 - The Sermon ► 03 - Fire in My Bones ► 04 - Testify ► 06 - Call to Worship